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You could use M7 spring washers to space out a 7mm thread pot: https://www.ebay.co.uk/itm/363082401549

How much would it devalue the bass? I’d have a really good think about that. It’s a high end bass and could cost you a substantial amount. This may not be a concern now, but in 5 years time it might be the difference between an easy sale and putting buyers off completely.

Calling @Andyjr1515

A gilter? Is this an attempt to gild the lily?

And ordered a TC Spark Booster to stack it with too

Subscribed 🤘🤘🤘

I can't. I haven't got a stencil...

Hi Steve, Speaking of sub £500 5 string basses that I would go for I've just taken delivery of a used first generation SBMM Ray35 in the natural ash finish. I've had "real" US 5 string Rays before so am able to make a reasonable comparison:these Ray35s are Stingrays through and through! I know these might not be your thing especially with the 17.5mm string spacing but I love the Stingray tone but not the £2k+ price tag on some of the EBMM Rays that preceded the 2018 Stingray Special range. As far as I'm concerned I have a Ray for less than 1/4 of the price of some used USA examples ☺️

BBNE2 is a neck-through.

Even though the recording wasn't up to much, apparently the lyrics did make him laugh!

PM sent

To be fair, not every Porky Prime Cut sounds good, I spose they did the best they could and scrawled their X on it! And most of the singles I've got from that period were Porky's so I thought he only did good stuff, ie what I liked. Seemed just about every decent punk and new wave record was a Porky!

Which is the point I was trying to make earlier in this thread. It was fine if you were a big selling artist signed to a major record label , but for those of us without record label backing, trying to make our recordings available to the public and maybe played by John Peel or Tommy Vance, meant having to use a budget studio, and then getting our record pressed at a some cheap pressing plant using recycled vinyl as this was the only way we could afford to release it. Compare and contrast with a digital file whether it is on a CD or a download there are a lot fewer obstacles to audio fidelity. The music I've released on digital formats sounds loads better even though much of it was recorded at home rather than at a proper studio simply because the production process doesn't place limitations on the sound.

I agree on not de-fretting. The BBNE2 is a neck-thru design, making a fretless neck for it isn't an option. It's also a high-end and quite sought after bass that could be difficult to resell if de-fretted and you'd have the cost of re-fretting if you wanted to reverse the job. If money is no object and none of this matters, go ahead and defret. It's a different decision for different people.

Calling occupants of interplanetary craft. Carpenters

My shitty vinyl effort is a Porky Prime Cut! Back in those days I think almost every UK pressing I owned had been cut by either Porky (George Peckham) or Bilbo (Dennis Blackham).

I recently bought a blue Aria TSB550 fretless. It had a seized truss rod. Now it appears the nut at the headstock nut isn't straight and after a few weeks of WD40 down there, still no movevment and we are thinking that it's cross threaded. Even if we get the nut off, it would never go back on. I'm thinking to remove the fingerboard, replace the rod and re-attached the board any hints and tips are welcome and I would like to do the work myself TIA the BC massive

Mike Starr tone thread? Im with you on this one. Absolutely unacceptable.

Add ‘Dude’ into the equation too….

Would? Is one of those really simple but extremely effective bass parts. Really fun to play with a band.

I did it to a p bass USA reissue in 1990. I pulled the frets with pliers, filled with a tube of plastic wood and it worked perfectly These days I would do it differently. I would buy a tool specifically for pulling frets and run a soldering iron accros the fret to be pulled a couple of times